Archive for April 2010

It’s an EP. The album cover is designed to look like a record from the mid-’60s. And it makes sense, because “Release Me” sounds like one of those girl group songs that would always play at the end of an episode of “Murphy Brown.” I can see the credits rolling now.
It may be too late for these gals, as the Pipettes’ ship sailed long ago, but for those who actually listen to music that they like, it’s a great time to be alive. Moon pie, indeed.
It goes without saying that the Like are awesome live. Sometimes you can just tell. And someday I hope to find out myself. “He’s Not a Boy” is a rock number with very basic percussion that even I could play. The mix is intentionally simple, the way Duplo blocks fit together. God forbid this act only succeeds because of appearance. I could never believe such a thing!
“Fair Game” squeezes a keyboard into the song, and it results in a track that begins a bit rushed but ends in a fairly organized fashion. It might be good for fans of Bis, although the lead vocals are not remotely as frenetic.
“Wishing He Was Dead” has a more modern feel and leaves the listener with a sweet aftertaste. It’s an excellent choice to round out the record. This isn’t bad, and I know I’d be able to round up a few to see this one when they came around my town.

Let’s not beat around the (Kate) bush. This sounds exactly like a Lily Allen record. And the album title is not a response to an obscure the Bloodhound Gang lyric.
“Kiss That Grrrl” sounds like the Pipettes. “Do-Wah-Doo” sounds like something on the “Glee” soundtrack. It also has the same guitar as “Beautiful Stupid Angel” by the Kirby Grips, which is likely a coincidence but not something I will let slip by. Not a lot of originality here, but it all sounds good.
“I’ve Got a Secret” is more in the Sing-Sing vein, although it is a little too fast to be them exactly. This one would definitely be better if it were a little slower. “Later On” sounds like Sahara Hotnights or Republica. I think this would be a single if this album had such a thing, because it has inexplicable synths mixed in here and there. Nothing ever makes sense in this crazy mixed-up world.

They definitely belong on Slumberland; there’s no denying that. Part C86 and part noise, this act joins other up-and-comers such as Brilliant Colors in resurrecting one of my favorite scenes. “For Ex-Lovers Only” gets this record off to a great start and makes me want to grab a Crystal Pepsi and rock out. “Black Car” has the guitar of old Nada Surf or Velocity Girl. (Indeed, a former member of Velocity Girl is in Black Tambourine.) I want to drive into the middle of nowhere so I can blast this as loud as I can.
I’ve always wondered whether Velocette named themselves after Velocity Girl, but “Pack You Up” definitely makes me think more of the former. (The difference in sound between those two bands lies in the singer anyway.) “I Was Wrong” ventures more into the Marine Research side of things, and it’s just as good. “Throw Aggi Off the Bridge” has hints of Fastbacks; I feel like I am describing a wine. “We Can’t Be Friends” sounds like Talulah Gosh, although it’s really splitting hairs to say that, isn’t it?
It’s just come to my attention that this band was only around between 1989 and 1991. Well, no wonder. Clearly they paved the way for a lot of the other acts mentioned thus far. And it also explains why this band reminds me of the Vaselines as well.
There are also a couple demo versions of two of the tracks on here. There’s just all kinds of fun loaded onto this one.